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Tell us a little bit about your press and what inspired you to start it up.
Inky Bones Press is named after some of my loves: writing & bones. Prior to starting IBP, a writer friend and I had a book review podcast, and we also published a handful of anthologies. I fell in love with the process and wanted to continue when our collaboration ended. I’ve loved reading and writing since I was very young, so it’s a dream come true to create books as well as meet and promote other authors. What kind of horror do you publish? Inky Bones Press primarily falls under the speculative fiction umbrella: a backbone of horror with flavors of science fiction and fantasy. Creatures, monsters, creepy settings, and oddities are my jam, so that’s what I gravitate to when I’m curating an anthology. I look for stories that bring fear to the forefront. I love stories that give visceral reactions. I’m currently plotting my next anthology for 2027, so I should be posting a new open call in the next few months. We all know the small publisher is a champion for marginalized voices. How does your press help uplift these voices? I’m a huge believer in supporting others and lifting them up. I’d love for Inky Bones Press to be a place for writers with marginalized voices to feel safe and to trust me to publish and promote their work. What are some common things that will get a quick rejection from your press? On the flip side, what are some things that make a submission stand out? I’m sure I’m not alone with this answer: not following submission guidelines. The biggest one for me is word count. If a story is over what I’ve requested, I don’t read it. Submissions stand out for me if they have been edited well. I do love to edit, and despite the cleanliness of the copy there can be some minor things. Each time I’ve seen a well-written story that’s clean, it puts a smile on my face—especially if the story meets the requirements and entices me. What is one of the biggest challenges your press is facing these days? Getting enough publicity outside of my own circle. I’m hoping to branch out and promote to readers who have never heard of Inky Bones Press or even know much about small presses. It takes time and funding to do certain things, and as a one-person crew it’s a slow process. What projects do you have coming out soon? I recently published a creature feature anthology called Of Beasts & Bones. Now, I’m focused on re-releasing two anthologies whose rights I acquired when my past collaboration ended. I’ve enjoyed reconnecting with the contributors and getting their stories, poems, and art & photography out in the world again. The anthologies are Still of Winter and Hope Screams Eternal. I’m also in the process of going wide so I can get my books into local and small bookstores. Where can authors find you? Website: https://www.robinknabel.com/ IBP page on website: https://www.robinknabel.com/inkybonespress Instagram: https://www.instagram.com/robinknabel/ Linktree: https://linktr.ee/robinknabel My website is www.robinknabel.com, and I’m @robinknabel on Instagram and most socials. You can find links to all my favorite haunts on Linktree.
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Tell us a little bit about your press and what inspired you to start it up.
Horrific Scribblings has two taglines/catchphrases: we publish transgressive dark fiction that is provocative, scary, and strange. Dark and disturbing, thought-provoking, outside the mainstream, unconventional, bizarre, disturbing, shocking, inspiring dread at the deepest existential levels… if it gets a hard no somewhere else for being too out there, it might get an enthusiastic yes from us. I started Horrific Scribblings because I’d self-published a few books, had a new novel called Alex’s Escape that I thought was so extreme and controversial that no one else would publish it, and thought, since I might be able to help out others with works too out there to fit elsewhere, the time might be right to start an idiosyncratic imprint. I filed the paperwork to form a company. I launched phase one in February 2025 when I started publishing my own books along with Horrific Scribes, a web archive of short fiction and some poetry (submissions always open!) that now has well over 100 authors’ works in it. For phase two, this year I started putting together our first pro-paying anthology, Extremely Weird Splatter, which has a dynamite line-up of horror authors and will be out October 13. For phase three—coming soon—I’ll start signing authors for novellas and novels. What kind of horror do you publish? For “transgressive dark fiction,” we look for horror and the horror-adjacent. Horrific Scribes includes all kinds of horror from quiet to splatterpunk, grounded to WTF supernatural/weird, as well as related categories such as dark fantasy, dark sci-fi, surreal/experimental, etc., as long as it’s got scary elements (it’s got to be provocative, scary, and strange). Most of our books so far are either anthologies from the Horrific Scribes archive or my novels and novellas, which tend toward extreme/splatterpunk and dark fantasy. The upcoming anthology I mentioned—which is all-new and independent of Horrific Scribes—fuses splatter with weird horror. We all know the small publisher is a champion for marginalized voices. How does your press help uplift these voices? Although not always kindly, horror has long innovated through representations of the marginalized and thus has long been a space for the marginalized, and Horrific Scribblings is about the marginalized within an already marginalized space: horror is already transgressive, but we want the transgressive among the transgressive. Our tagline for Extremely Weird Splatter is “Splatter the Normal.” I think this philosophy accounts for why we not only receive but end up selecting—not by design—so many international submissions. We’ve published work from six continents, and we have nothing against Antarctica, really. I haven’t done the math and couldn’t do so accurately because I don’t have all the data, but my general sense is strong enough to say with confidence that, though they do reflect the demographics of our submissions, our actual pubs skew less cis-het-male than our subs (which isn’t to say we don’t love cis-het-male writers—we do—but more marginalized voices tend to match with relatively greater frequency). I think we do especially well by LGBTQ+ authors, perhaps because I am one but I think because queerness and transgression still often go hand in hand, which informs the writing. We have a small “LGBTQ+” category on our site, but the number of stories contributed by queer-identified writers and/or with queer content is much larger. What projects do you have coming out soon? The biggie I’ve mentioned. Extremely Weird Splatter refreshes too-often-grounded splatterpunk with extreme weirdness and turns up the volume on today’s quiet and respectable weird fiction with extreme splatter. We’ve got stories by award-winning legends and favorites including JG Faherty, Christine Morgan, Jason Nickey, Monica J. O’Rourke, and Steve Rasnic Tem as well as others you know and some you’ll be getting to know soon. It’s amazing. Also, I just released the third anthology from the Horrific Scribes archive, Horrific Scribes Presents: Worlds Collide, and I might get the fourth, Horrific Scribes Presents: Distortions and Disproportions, out by the end of the year. As for my own books, I’ll have my surreal thriller Noir Falling: A Bizarre Mystery of Art and the Mind back in print soon, and I’ve got two novellas, Miasma and The Masses, in the pipeline. They’re nasty. When is your next open call and what are you looking for? Horrific Scribes is ALWAYS OPEN! We want horror and horror-adjacent short stories (1500-5000 words) and dark poems (send 2 – 5 short / medium poems) and pay $25 for an accepted submission (would love to pay more, but we don’t sell ads or charge readers, so we lose money). Full details and the place to submit are here: https://horrificscribblings.com/submissions/ We don’t do issues like magazines, but we have “Exhibits,” and our next Special Exhibit, likely opening to subs September 1, will focus on conspiracy horror. We refer to submissions for our Special Exhibits as “challenge submissions,” and you can keep an eye on challenges here: https://horrificscribblings.com/submissions/submissions-challenge/ Finally, assuming Extremely Weird Splatter is successful, you can look for a call for another pro-paying Horrific Scribblings anthology in 2027… What advice do you have for authors? My most common reasons for rejecting stories…
Where can authors find you? We’re a little bit all over… https://horrificscribblings.com/ https://www.facebook.com/horrificscribblings/ https://www.instagram.com/horrificscribblings/ https://www.tiktok.com/@horrificscribs https://bsky.app/profile/horrificscribs.bsky.social https://www.youtube.com/@HorrificScribblingsVideos Indie publishers have a distinct personality. How would you define the personality of your publishing house, as well as the core brand/vibe?
Anuci Press is all about being a stepping stone for new/newer authors to get their work out to the public as well as a place for more established writers to try out new things that may be too weird or niche for their normal sources of publishing. While I wish I could sell more books for the writers I work with, I do enjoy being considered well outside the mainstream. What kind of horror do you publish? So far, it has been a mix of different subgenres and styles of horror, but the plan is to become more about weird horror and cosmic horror. The push in that direction will begin in earnest in 2027. The horror landscape is constantly changing. What do you look for in a book you want to publish? I always look for manuscripts I enjoy reading and think deserve to be seen by as many eyes as possible. I really enjoy stories that are odd and fall outside the mainstream. We all know the small publisher is a champion for marginalized voices. How does your press help uplift these voices? I love being able to publish stories that would otherwise be ignored. When those writers are from marginalized groups, that makes it all the more special. To be able to champion anyone who is being ignored is a privilege not to be taken lightly. What are some common things that will get a quick rejection from your press? On the flip side, what are some things that make a submission stand out? I will not tolerate bigotry of any kind. That is an automatic reject (bigotry from the writer, not a character whose bigotry is required for the story to work). If the manuscript does not fit what I am comfortable publishing, I will direct the writer to publishers who may be interested in the story. I am always on the lookout for weird stories that jump out at me, as long as they fall in the genres/subgenres I publish. What is one of the biggest challenges your press is facing these days? Like all indies, sales are difficult. We are ignored so much by large retailers and book reviewers and influencers. It is difficult to garner attention. A press my size has tremendous difficulty getting magazines or people with a lot of reach to give me or the writers the time of day. What projects do you have coming out soon? The 2026 lineup has already been released, most likely. I have three books already scheduled for 2027, along with a special project I hope to get off the ground involving weird fiction by women in the public domain. When is your next open call and what are you looking for? I typically do not have a set schedule. I accept manuscripts anytime, but any submissions now would be for next year. What advice do you have for authors? Be patient and persistent. You will have to do a lot of self-promotion. Be true to yourself as a writer and write what you love to express. Where can authors find you? I have a website, anuci-press.com. I am on Instagram, Facebook, Threads, and Bluesky. I can always be reached by email as well at [email protected] Tell us a little bit about your press and what inspired you to start it up.
Haruspex Audio is a queer-focused audiobook house specializing in horror, smut, and outsider lit. 10 years of audiobook work has shown me that authors, narrators, presses, audio producers, and listeners deserve better deals than what Audible offers, and more freedom for riskier material to be adapted to audio. Indie publishers have a distinct personality. How would you define the personality of your publishing house, as well as the core brand/vibe? Eclectic, but we love the grime and sublime. Challenging, feel-bad and transgressive genre fiction with a love for unlovable protagonists and messy stories that trouble tidy expectations. What projects do you have coming out soon? Our newest releases are O.F. Cieri’s BACKMASK, an occult pulp novel set in the 70s record biz; and Henry Corrigan’s Somewhere Quiet, Full of Light, a queer haunted house story with the house’s POV! In production we have Pieces of Us by Taylor Blackthorne, a very dark and very steamy romance; and TT Madden’s The Familialists, a powerful and timely horror novella that’s a mix of Get Out and The Stepford Wives. Pre-orders should be up at time of press! What are some common things that will get a quick rejection from your press? On the flip side, what are some things that make a submission stand out? Bigotry and boringness are the fastest ways to a pass from me. For the flip, I love messy queer characters who are not about respectability politics, and stories that make your skin crawl and ask why you find it a little hot at the same time. When is your next open call and what are you looking for? We are open for queries from August 10-21 and then an extra week for BIPOC writers. Novellas are my favorite, in horror, romance, erotica, and weird. Where can authors find you? I’m most active on Instagram but am on most socials at @haruspexaudio. For many people, "summer" is nearly synonymous with "road trip." You may be thinking with the events of the recent weeks that getting away is impossible or, at the very least, impossibly risky. The good news is that there are some things you can do to make your road trip relatively safe. We here at Local Family News hope this collection of tips will help you plan your best possible summer road trip. Some of these tips are the same ones we'd have given out in years past, but they're still as important today as they've always been. Tip #1: Make Sure Your Car is in Good Working Order Check your tire pressure and your fluids, topping off anything that's low. Being able to keep on the move is essential, so you'll also want to make sure you have a fully fueled vehicle before you hit the road. Tip #2: Make a Playlist This has always been more fun than cycling through various staticky channels which fade in just as the advertisements are starting and fade out when the song you want to hear is about to play. With many radio stations currently out of service due to either loss of key staff or damage to necessary infrastructure, your over-the-air options will be even slimmer. Fortunately, cellular service is still widely available, and there’s always offline mode! Tip #3: Bring a Paper Map The oldest among us working for Local Family News remember their parents wrestling with giant paper maps or flipping through the pages of a book of maps during the road trips of our youth. It may not be something you’ve ever had to consider, and you’ll want to bear in mind that some towns are no longer populated and keep an eye out for detour signs. But even with these caveats, if your phone dies or there’s another GPS interruption like the one in April, having paper maps could be a lifesaver! Tip #4: Don’t Forget the Sunscreen This tip is an oldie but a goodie. We know some folks may ask what the point is, suggesting that they likely won’t be around long enough for skin cancer to be a problem. Regardless of your degree of pessimism about our possible future, sunscreen is still worthwhile! Many a family road trip has been ruined by sunburns leaving people ouchy and grouchy. So slather it on! SPF 50 or better is still your best bet. Tip #5: Get a Good Night of Sleep Before Driving We're not at our best when we're not well-rested. Out on the road, away from the safety of your house, you definitely want to be fresh and alert. If, like many of us, you've been having trouble sleeping at night, make sure to avoid caffeine and other stimulants late in the day. Setting your phone out of reach before you lie down is a good way to avoid scrolling through the news or your socials "one more time." Tip #6: Get an Early Start Fortunately, summer means long days and short nights, and you’ll want to take advantage of that and hit the road as close to sunup as you can get yourself and your family out the door. Those extra hours of daylight will, if nothing else, give you an opportunity to take a few more minutes to carefully enjoy a scenic overlook. And if something goes wrong, you’ll be grateful for every spare second you have before nightfall. Tip #7: Grab Some Snacks We’ve stressed the importance of being thoughtful about the stops you make to help ensure your safe arrival at your evening’s destination. Still, just like you don’t want your car to run out of fuel, you need to keep yourself and your family fueled. You could buy your snacks in advance, and if you’re going to be tight for time, do that! But it’s undeniable that there’s something extra-special about a candy bar or bag of chips purchased at a fueling station. If you can afford the minutes, get everyone out of the car for a stretch break and do a little snack shopping. Your tastebuds will thank you for it! Tip #8: Know What You'll Do if Your Car Breaks Down If you followed the advice in Tip #1, hopefully this won't happen to you, but even a well-maintained car can run over a sharp piece of metal and blow a tire. Some problems you can fix (you do have a spare, right?). Unfortunately, other problems may require a mechanic. If that’s the case, you’ll first want to try towing services since staying in your vehicle is your best bet. Because of the importance of not being on the road after nightfall, towing services still operate in many parts of the country, though the fees may be astronomical. Ultimately, it’s possible you’ll find yourself unable to find (or afford) a tow. That leads us to our final tip. Tip #9: Know Who Will Go Whether it’s because of car trouble or for some other reason, you’ve come to the difficult decision that someone has to set out on foot. To avoid a painful conversation in the moment, decide in advance who will be the one to leave the car and walk for help if you determine that's necessary. Understand, too, what the rest of your family should do if that person doesn't return when expected. With these tips in mind, you’ll have a better chance of getting to your destination safely if you hit the road this summer. And as always, don’t forget the most important thing — have fun! Michael Haynes (he/him/his) is an avid short fiction reader and writer with over 100 published stories, most in the speculative fiction genres. His 2025 short story collection, THREE THINGS CAMERON COULDN'T TELL YOU: STORIES OF (MIS)COMMUNICATION includes more than two dozen of his stories. Michael lives in Colorado and has more hobbies than he really has time for, enjoying travel, going to concerts, photography, cooking, geocaching, hiking, board games, and so on. Learn more at his website michaelhaynes.info or say hello on Bluesky @michaelhaynes.bsky.social. Tell us a little bit about your press and what inspired you to start it up.
Back before the pandemic, I was getting short stories published and querying publishers and agents with my completed novel, A Mind Full of Scorpions. It was picked up by a small press, only for the owner to fall sick, and then by a second, who had to close after they couldn't receive the funds they needed for their projects. When the pandemic hit, I thought I'd start up my own publishing house. I never intended to publish myself, though. I wanted to publish other authors as well. I'm proud to say that we have published anthologies and novels/novellas from a number of other authors in our five years. Indie publishers have a distinct personality. How would you define the personality of your publishing house, as well as the core brand/vibe? We've been fortunate to work with some talented artists with regard to branding. I enjoy the literary and the pulp, and I love the '90's aesthetic (especially grunge), so our website uses color and textures that reflect these sensibilities. We also created the Sley Siblings, who introduce our anthologies in a nod to EC comics titles like Tales from the Crypt. Our most recent anthology, Tales of Sley House 2025 best represents that. The print version is $16.99, and the ebook is free to download off our website, or you can buy it for $3.99 through Barnes & Noble, Amazon, or wherever you buy your books. What kind of horror do you publish? I'd like to say we publish all kinds, and to an extent, this is true. But I tend to write horror/southern gothic, and quite a few of our titles fall under that broadscope. Black Echoes is SG/H, focused on the relationship between a father and his son, and drug addiction. Persephone's Escalator is SG/H that deals with family, witches, and curses. Godfestation is an upcoming novella set in Appalachia, dealing with grief and family. The horror landscape is constantly changing. What do you look for in a book you want to publish? I look at characters and setting. I look for themes being explored. I want to make sure that the characters feel real and their choices drive the plot. I teach my students that conflict is driven by the choices characters make in trying to resolve that conflict, so any good story should show this clearly. We all know the small publisher is a champion for marginalized voices. How does your press help uplift these voices? Our anthologies have published authors from all over the world. We've published women and people of color regularly in those anthologies. We also have a lot of women-authored books out now and soon to be released. Jendia Gammon has several books with us, and has several more coming out. Jay Townend's upcoming novella is an LGBTQ+ horror story, and K.A. Hough has one science fiction novel with us with another ready to come out soon. We are also publishing a middle grade horror novel with Abby Vail. What are some common things that will get a quick rejection from your press? On the flip side, what are some things that make a submission stand out? We don't want anything AI and we don't use AI. We also don't tolerate hate speech. We don't want to see racist, misogynistic, or any writing that denigrates people. I'm not looking to chase sales trends. I want strong writing, strong characters, and stories with something to say. I like beautiful prose. What is one of the biggest challenges your press is facing these days? Honestly, I want to be better with marketing. We have monthly newsletters and we do press releases for upcoming books, but if we could get our books in front of more readers, I know people would enjoy them. What projects do you have coming out soon? 11 August 2026 -- Godfestation by Jendia Gammon -- a southern gothic (Appalachian) horror novella. 2027 -- HAUNTING AND MURDER! at Hilltop Manor -- JR Billingsley 2027 -- Paper Moons by KA Hough -- science fiction and women's lit 9 February 2027 -- Latchkey Monsters by William Sterling -- horror novel (southern focus) 23 March 2027 -- Girls, Girls, Gore by Jay Townend -- LGBTQ+ horror novella 8 June 2027 -- Bad Manor by Abby Vail -- middle grade horror novel 2028 -- Mr. Haunt by Brandon Robbins -- horror novel (southern focus) ...and more, so stay tuned! When is your next open call and what are you looking for? We have monthly open calls for our Patreon page where we publish short stories and poems. Our website (www.sleyhouse.com) details what we're looking for each month, but we accept horror/fantasy/ sci-fi. What advice do you have for authors? Read everything, read often, and read outside your chosen genre. And make a habit to write every day. Where can authors find you? Our website: www.sleyhouse.com Twitter: @SleyHouse Meta: @sleyhousepublishing Blue Sky: @sleyhouseeditor.bsky.social Tell us a little bit about your press and what inspired you to start it up.
Black Beacon Books was born in Australia in 2013. I had already been writing and submitting my short stories to various horror markets for several years but felt there was a lack of quality independent publishers based in Australia, and particularly in the hometown of Brisbane. At a time when print-on-demand technology promised to revolutionise the publishing industry and make it possible for those of us with more vision, passion, and know-how than cold hard cash to get our books out there, it made sense to give it go. In a way, the impetus was to kick out against the major publishing houses whose unoriginal and formulaic fiction was—and still is, but perhaps to a lesser extent—dominating the market. I felt that discerning readers of original horror, suspense, and mystery fiction needed more alternatives—stories that respected the basic rules of these genres but weren’t afraid to put new spins and twists on them. I was in touch with a community of like-minded authors and artists, many of whom are still riding the wave with me today, and I knew they would be keen to get involved. The first anthology Black Beacon Books published had a local flavour. Subtropical Suspense featured suspense stories set in and around the city of Brisbane. I felt it was important for me to make a contribution to my hometown’s literary treasure trove, for while Brisbane is Australia’s third largest city, it is underrepresented in fiction compared to Sydney and Melbourne. This, likewise, was the reason I chose to set my début novel, The Tunnel Runner, in and under the streets of my hometown. It soon became clear, of course, that restricting the focus to one city, or even one country, wasn’t the way forward for Black Beacon Books, especially since moving to the other side of the world in 2017. We’re now based in the countryside in my wife’s homeland of Brittany, without so much as an English-language bookshop within a day’s drive away. It made more sense to define Black Beacon Books solely by what we publish rather than by where we come from. So, what do we publish? Atmospheric horror, mystery, and suspense fiction served on a platter to clever readers who aren’t afraid of twists, turns, and eeriness. What kind of horror do you publish? As mentioned above, we publish several genres, all of them hair-raising, puzzling, or spellbinding. In terms of horror in its broadest sense, our books fall into three categories; general horror, ghost stories, and post-apocalyptic adventure. The best way to taste our dark delicacies is to grab one of our anthologies. The Black Beacon Book of Horror is the first in our series of general horror anthologies, and you’ll find a tendency towards subtle, creeping horror over gore and guts. It’s the sense of dread, the building of suspense, that truly terrifies. The tales in this anthology are gothic, ghostly, and psychological. You’ll find monsters and the supernatural in our publications, but what we know really gives our readers a chill is when the pages of a book act not as windows to fantastic realms but as mere mirrors exposing them for who they are...or might end up becoming. For those who prefer that haunting feeling, The Black Beacon Book of Ghosts will send shivers up your spine, and for fans of post-apocalyptic fiction, there’s Tales from the Ruins, Flicker, and Index Case (forthcoming). What are some common things that will get a quick rejection from your press? On the flip side, what are some things that make a submission stand out? It really is very simple. If you don’t follow the guidelines, your submission will be rejected. Read the guidelines, query if you don’t understand something, and send in your submission accordingly. If you can’t read and follow guidelines, we assume you can’t write a great story. What makes a submission stand out? So, firstly, when your email has the required subject line and you start your message with a greeting--Dear editor is fine and Hi Cameron really shows me you know what’s going on. Of course, for an anthology, we choose the stories that are well-written both in terms of storytelling and the correct use of the nuts and bolts of our beautiful language. We value originality, atmosphere, and a clever twist or two. If you manage to bring all that together, there’s a solid chance your submission will at least make the longlist. What projects do you have coming out soon? Up next is the latest novel from Sam Dawson, an English author with an original voice, coming out in September. Index Case is a medical thriller, apocalyptic adventure, survivalist’s handbook, and a guidebook to the south coast of England all wrapped into one. With an expert on contagious diseases as the protagonist, Sam tells us the release of his novel will be timely. We hope he’s wrong! October will see the release of The Black Beacon Book of Horror 2, perfect for your Halloween TBR list. Then, hot on its heels, we’ll be publishing The Fourth Black Beacon Book of Mystery in December. Make room on your nightstand! When is your next open call and what are you looking for? Our main focus will remain on anthologies. We have two open calls later this year and one early next year, stretching from October to February. Lighthouses 2, Tales from the Ruins 2, and The Fifth Black Beacon Book of Mystery. Another word of advice for potential contributors; grab a copy of a previous volume of the anthology in question so you get a feel for what works for us, then check the submissions guidelines and get writing! Where can authors find you? Our website is at blackbeaconbooks.com and you can find a comprehensive list of our social media profiles at linktr.ee/blackbeaconbooks Tell us a little bit about your press and what inspired you to start it up.
We are The Laughing Man House, we focus mainly on horror subgenres like religious horror, southern gothic, southwestern, and dark fantasy—but we do not limit ourselves to those and publish a broad spectrum. We are queer-owned and so we put a lot of our time and attention into queer stories. Part of why we began was because we love weird regional horror and religious horror, which are two niches that we had trouble finding in the wild for a long time. More recently, there have been some explosions in these subgenres, such as Appalachian horror, and we think that’s awesome. As we continue to evolve, a lot of what keeps us going is our mission to give a voice to more queer authors during a time when those voices are being dropped or dismissed by large trad publishers. Indie publishers have a distinct personality. How would you define the personality of your publishing house, as well as the core brand/vibe? Our whole brand has become sort of this parody of a modern Pentecostal-style church. We know that sounds weird and it is, sometimes we worry it’s too off-putting, but it’s very closely bonded to our roots. For me, the founder, I grew up extremely Christian in the fairly-rural South, bouncing between denominations that all held some form of mild to extreme fundamentalist ideas. And that really shaped who I am as a person, so now, even though I’ve deconstructed, I have found a way to take that part of my past and graft it onto my passion. That’s been extremely cathartic, rather than just letting my religious trauma sit in a box in a closet, I get to play around with it and let others play around with theirs, too. Sometimes I’m jokingly called Rev because my brand persona is a sleazy televangelist, and everything else has exploded around that. We run The Horror Church Bookshop (a mini indie horror bookshop), and The Horror Church discord server (for queer horror writers), and everything down to how I package the books we send out follows this theme. Our literary magazine is Smitten Land (derived from Exodus 12:13). Our mascot, Xerxes, is a grim reaper who wears a crown of thorns. There are a lot of publishers who have no interest in religious-flavored horror because they think evil preachers and the devil are overplayed, but if you’re a writer who loves that kind of stuff, then you have a home here. The horror landscape is constantly changing. What do you look for in a book you want to publish? We don’t really look for books that are ‘on trend’ right now (because that trend will pass by before the book even has a chance to breathe). Our checklist is usually things like, does it fit our niche? Is the writing rich, fun, developed? Does it challenge us to expand our reach, will it resonate with our current audience and new readers? We like to think that we have a fairly diverse taste—we love creature features, family dramas, isolation stories, comedies, erotica, experimental pieces, cosmic horror, haunted houses, ghost stories, etc. I feel like every small press gets its share of submissions that are wildly out of its asking zone (and we are always honored when an author gives us a shot even if it’s just for the ‘hell of it’ / sake of trying), so a big deciding factor is often the ‘does it fit our niche’. If we have two excellent horror books in front of us and we have to choose between them, we’re going to pick the religious horror, or the Florida horror, over the midwestern ghost story. We all know the small publisher is a champion for marginalized voices. How does your press help uplift these voices? We really try to make an effort to uplift as many marginalized voices as we can, although we always want to do more and better. We want all the own voices representation we can get—from queer people, people of color, disabled voices, mentally ill voices—etc. We tend to be extremely picky especially in our Southwestern acquisitions for this reason. What are some common things that will get a quick rejection from your press? On the flip side, what are some things that make a submission stand out? A general lack of understanding what we’re looking for is a quick rejection—along with emails that have no body, books that are drastically below or way beyond our preferred word counts, anything that reduces women to sex objects with no agency, manuscripts that do not adhere to our specified preferred format—and we do not really like it when someone lands in our inbox with a condescending attitude. I don’t take people talking down to me very well. If an author comes in and there’s a sense of mutual respect and you have clearly read our guidelines, then that’s a green flag. The stories that tend to stand out the most are stories that feel genuine (not written to pander to a call, but a story you had burning in your gut from its inception). Even if it’s the campiest, silliest story you have ever wanted to tell, if it’s something you genuinely love and it makes us grin, chance are we’ll love it. When is your next open call and what are you looking for? Right now, we have an open call for our Smitten Land anthology, Behold the Behemoth. Smitten Land is our quarterly religious horror magazine, and BTB is celebrating two years. Beyond that, our next open call for novels and novellas will likely be at the tail-end of 2027 or the beginning of 2028. We will definitely announce it on our socials when it’s open. But, what are we looking for? I would love some more evangelical flavored horror. I would love some Southwestern horror, and I’d be hard-pressed to say ‘no’ to some more rural Southern gothic horror (especially with some botanical horror mixed in). If you’re a queer author of color and you’re shopping around in these subgenres, please feel free to tap into my DM’s even if we’re not in our open call season and we’ll be happy to talk. Where can authors find you? We have a newsletter, we are on Instagram and TikTok, we have a BlueSky (for now), and we are on Threads. I’ll drop a bunch of links. Thank you so much for having us! Website: https://www.lmhpub.com/ Newsletter: https://lmhpub.beehiiv.com/ LMH Pub Instagram: https://www.instagram.com/thelaughingmanhousepub Horror Church Bookshop: https://www.instagram.com/horrorchurchbookshop Sirius: https://www.instagram.com/palestarsirius Tell us a little bit about your press and what inspired you to start it up.
Spend enough time in the publishing industry and you see its ugliness, inequities, and grift. Rather than become cynical, we decided to start our own indie press. We wanted to answer the question: how can publishing do better? We decided it was important not to build our press on the backs of hardworking writers, as many others do. We also wanted to publish the highest quality fiction we could find, pay people fairly, and never compromise on our creative standards. All these things are possible, and we put our money where our mouths are. We pay professional rates for short fiction and offer a better-than-industry-standard percent of royalties. We choose authors who may have been passed over by traditional publishing and deserve a piece of the spotlight. Since opening our doors in 2023, we've published five excellent books and have five more in the pipeline. We're incredibly lucky to work with some of the best indie authors in horror and connect with such an incredible, supportive community. What advice do you have for authors? Work to dismantle oppressive structures of power. Each of the books we've published actively challenges patriarchal power; we aim to provoke, discomfit, and inspire readers looking for a crack in the edifice. Books are still respected in our culture. They're powerful objects in themselves. When you write, remember that you are making something that has the power to change someone's life and alter their thinking. The best advice is: remember your power. Exercise it. Be fearless in your writing. And if you don't know how to do that, read the authors who are doing it. How does Moonstruck Books uplift marginalized voices? Moonstruck Books is a trans-owned press and we work with authors who fall outside the mainstream. There's a detailed list on our website of what that means to us. "Marginalized" has become shorthand for LBGTQIA+ or BIPOC and can feel like a marketing term. We define "marginalization" in many senses. Our anthology Nightmare Diaries was the embodiment of our values and included a wide range of writers: Black authors, people of color, self-educated writers, non-urban writers, blue collar and working class folks, and other folks who are decentered in traditional industry models. The best horror comes from the margins and the experience of living in the shadows. We publish work that explores those dark places, through the lens of people who walk that path daily. We're not interested in the overwhelmingly white, cishet, industry-stamped, algorithm-friendly, all-too-binary bestseller world. Find out more about Moonstruck Books here. |
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